Why did The Smashing Machine fail at the box office? The Rock's new film's opening day collection, explained

Dwayne "The Rock" Johnson took a staggering hit with The Smashing Machine, a $50 million A24 biopic that arrived on October 3, 2025. Directed by Benny Safdie in his first solo venture after splitting with brother Josh, the film dives deep into the turbulent life of MMA pioneer Mark Kerr during the UFC’s gritty 1990s heyday.

Starring Johnson as Kerr and Emily Blunt as his emotional anchor, Dawn Staples, this film is a raw portrait of addiction, fame, and fractured relationships. Critics raved about Johnson’s career-defining performance with a 73% rating on Rotten Tomatoes, praising the film for a “transformative turn” that ducks biopic clichés.

Yet, the box office was merciless: a $6 million opening weekend with a budget of $50 million, Johnson’s lowest as a leading man, dwarfing 2010’s Faster ($8 million). This is because Taylor Swift’s The Official Release Party of a Showgirl stole premium screens with a $30 million-plus haul. 

Johnson’s star power is dimming after flops like Jungle Cruise and Black Adam. Mixed reviews from the audience and a low B- CinemaScore made his new film’s niche R-rated story struggle in a blockbuster-hungry market. Safdie’s bold vision and A24’s mid-budget gamble couldn’t overcome a brutal trifecta of bad timing, fading star appeal, and a story too raw for the mainstream.

The Smashing Machine’s brutal fall: Swift’s Showgirl steals the spotlight

Taylor Swift’s concert film, The Official Release Party of a Showgirl, hit like a freight train, pulling in over $30 million and dominating premium screens, IMAX, Dolby, and 4DX, which The Smashing Machine needed for its visceral, 16mm and 70mm-shot fight scenes. Deadline reports Swift’s fanbase pre-booked tickets in droves, sidelining the biopic’s $20 million projections, later cut to $10 million-plus. 

The final $6 million haul couldn’t compete with One Battle After Another ($31.6 million in week two) or family draws like Gabby’s Dollhouse ($16.4 million) and Demon Slayer ($10 million in week three). Swift’s cultural juggernaut didn’t just take screens; it stole oxygen, leaving the R-rated drama gasping.

A B- CinemaScore signalled weak word-of-mouth, as audiences, expecting Johnson’s usual high-octane fare, found the 123-minute meditation on Kerr’s demons too heavy. A24’s Civil War soared with a $25 million debut, but The Smashing Machine lacked the viral spark or broad appeal to break through Swift’s chokehold.

Johnson’s star power, once a $100 million guarantee, is wobbling. Jungle Cruise sank with a $3.1 million debut in the pandemic era, Black Adam fizzled out at $67 million domestically, and now The Smashing Machine marks his lowest lead opening. This R-rated drama, his first since 2013’s Pain & Gain ($20.2 million debut), leaned on critical buzz; Venice and TIFF called Johnson’s Kerr “transformative”, but audiences didn’t bite. 

It is noted that A24’s pivot to pricier, star-driven fare, like this and the $70 million Marty Supreme, risks missing the mark. The film’s introspective take on addiction and loss clashed with a market hungry for escapism. 

For Safdie, post-split from brother Josh, it’s a tough solo debut. Johnson’s prestige gamble is bold, but in a blockbuster-driven world, even The Rock can’t always draw a crowd.

The Smashing Machine is in theatres now and will be available for streaming on Max in December 2025.

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